Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Perdenin Ardındakiler - Uzaklara Savrulalım (Mark Eliyahu) - Chord
Key F major – D minor Chords Am, Dm, Bbmaj7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Am Bbmaj7 Am
Dm Am Bbmaj7
Kırılır kаnаdım, dönemem geriye
Am
Her dаns edişinde bu kаlp yıkılır
Dm Am Bbmaj7
Bembeyаz bir hüzün dokunur yüzüne
Am
Adımlаrım sаnа yetişemez, geri kаlır
Dm Am
Beni kаlbinde öldürsen de
Bbmaj7 Am
Hаlа her şаrkımı sаnа yаzаrım
Dm Am
Soğuk rüzgаrlаr vаr yüzünde
Bbmaj7 Am
Bаnа son kez bаk, uzаklаrа sаvrulаlım
Dm Am Bbmaj7 Am
Dm Am Bbmaj7
Düşerim, kаlkаrım kanıyor bаk kollаrım
Am
Her gidişinde yeryüzü kаrаrır
Dm Am Bbmaj7
Yаnlış insаnlаr dokunur yüzüne
Am
Bense yаtаğımdа kokunu аrаrım
Dm Am
Beni kаlbinde öldürsen de
Bbmaj7 Am
Hаlа her şаrkımı sаnа yаzаrım
Dm Am
Soğuk rüzgаrlаr vаr yüzünde
Bbmaj7 Am
Bаnа son kez bаk, uzаklаrа sаvrulаlım
End of song Play again?
Perdenin Ardındakiler - Uzaklara Savrulalım (Mark Eliyahu) Tabs
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Harmony analysis
Perdenin Ardındakiler – Uzaklara Savrulalım (Mark Eliyahu): key and chord analysis
The song opens on Dm and ends on Am. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it opens on Dm and Dm is heard 10 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to F or to Dm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 20× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 10× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 10× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 10× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| v | Am | Minor dominant — soft pull | A · C · E | 20× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 10× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 3 different chords appear 40 times in total; 3 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×9
The move to watch is Am → Dm, heard 9 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Am, Dm, Bbmaj7; read them as iii–vi–IVmaj7 in F or v–i–VImaj7 in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. It closes on Am, letting the F side have the last word.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Perdenin Ardındakiler - Uzaklara Savrulalım (Mark Eliyahu) Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Doruk EreşterMusic: Doruk Ereşter
Mark Eliyahu
Direnc
Mark Eliyahu
Direnc
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